The Bluest Eye Toni Morrison
(Born Chloe Anthony Wofford) American novelist, nonfiction writer, essayist, playwright, and children's writer.
The following entry presents criticism on Morrison's novel The Bluest Eye (1970) through 2000. For further information on her life and complete works, see CLC, Volumes 4, 10, 22, 87, and 194.
Morrison's first novel, The Bluest Eye, examines the tragic effects of imposing white, middle-class American ideals of beauty on the developing female identity of a young African American girl during the early 1940s. Inspired by a conversation Morrison once had with an elementary school classmate who wished for blue eyes, the novel poignantly shows the psychological devastation of a young black girl, Pecola Breedlove, who searches for love and acceptance in a world that denies and devalues people of her own race. As her mental state slowly unravels, Pecola hopelessly longs to possess the conventional American standards of feminine beauty—namely, white skin, blonde hair, and blue eyes—as presented to her by the popular icons and traditions of white culture. Written as a fragmented narrative from multiple perspectives and with significant typographical deviations, The Bluest Eye juxtaposes passages from the Dick-and-Jane grammar school primer with memories and stories of Pecola's life alternately told in retrospect by one of Pecola's now-grown childhood friends and by an omniscient narrator. Published in the midst of the Black Arts movement that flourished during the late 1960s and early 1970s, The Bluest Eye has attracted considerable attention from literary critics—though not to the same degree as Morrison's later works. With its sensitive portrait of African American female identity and its astute critique of the internalized racism bred by American cultural definitions of beauty, The Bluest Eye has been widely seen as a literary watershed, inspiring a proliferation of literature written by African American women about their identity and experience as women of color.
Plot and Major Characters
Ignoring strict narrative chronology, The Bluest Eye opens with three excerpts from the common 1940s American elementary school primer that features the All-American, white family of Mother, Father, Dick, and Jane. The first excerpt is a faithful reproduction, the second lacks all capitalization and punctuation marks, and the third dissolves into linguistic chaos by abandoning its spacing and alignment. This section is interrupted by an italicized fragment representing the memories of Claudia MacTeer, the principal narrator of The Bluest Eye. As an adult, Claudia recalls incidents from late 1941 when she was nine years old living in Lorain, Ohio, with her poor but loving parents and her ten-year-old sister, Frieda. Claudia's friend, Pecola Breedlove, is an emotionally impaired African American girl who comes from a broken home. The rest of The Bluest Eye divides into four separate time sequences, each named for a season of the year and each narrated by Claudia. Interspersed throughout the text are fragments in the voice of an omniscient narrator that discuss Pecola's obsessive desire for blue eyes and her parents, Pauline and Cholly; each fragment is introduced with different lines from the Dick-and-Jane primer. In “Autumn,” Claudia begins her narrative as the MacTeers take in a boarder, Mr. Henry Washington. At the same time, Pecola comes to live with the MacTeer family after Cholly burns down his family's house. Recounting their typical girlhood adventures, Claudia particularly remembers the onset of Pecola's first menses. The omniscient narrator intermittently interrupts with descriptions of the Breedlove's household, noting how the parents are unable to hide the violence of their relationship in the presence of Pecola and her brother Sammy. In the midst of the hostilities, Pecola constantly prays for blue eyes, believing that if she only had blue eyes, life would be better. In “Winter,” Claudia recalls the arrival at school of Maureen Peale, a lighter-skinned, wealthy black girl with green eyes whom the girls both hate and admire. When a group of boys harasses Pecola, Maureen temporarily befriends Pecola, but eventually turns on her, calling the darker-skinned and deeply hurt Pecola “ugly.” The omniscient narrator again interrupts and describes an incident involving Pecola and Geraldine, a socially mobile middle-class African American woman who loves her blue-eyed cat more than she loves her own son, Louis Junior. When Pecola is wrongly blamed for the cat's death, Geraldine quietly calls her a “nasty little black bitch.” Claudia opens the “Spring” sequence of The Bluest Eye with disparate memories about Henry Washington fondling Frieda's breasts, his subsequent beating and eviction by Mr. MacTeer, and a visit to Pecola's apartment. The omniscient narrator's descriptions of Pauline and Cholly's history predominate the rest of this section. The narrator relates events from Pauline's early life, her marriage, and how she became a maid for an affluent, white family. The narrator next recounts Cholly's traumatic childhood and adolescence. Abandoned almost at birth, he is rescued by his beloved Aunt Jimmy, who later dies when he is sixteen. After her burial, Cholly is humiliated by two white hunters who interrupt his first sexual encounter with a girl named Darlene. He flees to Macon, Georgia, in search of his father who is miserably mean and wants nothing to do with his son. Crushed by this encounter, Cholly eventually meets and marries Pauline and fathers her children. Years later, in Lorain, a drunken Cholly staggers into his kitchen, and overcome with lust, brutally rapes and impregnates Pecola. “Spring” concludes with a story about Soaphead Church, a self-proclaimed psychic and mystic, who counsels an unattractive black girl who wishes she had blue eyes. In “Summer,” Claudia resumes her narration, recalling how the gossip spreads regarding Pecola being pregnant with Cholly's baby. Near the end of the novel, Pecola finally narrates a story about her conversation with an imaginary companion concerning her new blue eyes and whether they are “the bluest eyes” in the world. In the last section of The Bluest Eye Claudia remembers meeting Pecola after Cholly's baby is delivered stillborn and accounts for the whereabouts of Sammy, Cholly, and Pauline.
In The Bluest Eye, the opening excerpt from the Dick-and-Jane primer juxtaposed with the experiences of African American characters immediately sets the tone for Morrison's examination of a young black girl's growing self-hatred: American society tells Pecola happy, white, middle-class families are better than hopeless, black, working-class families. Victimized in different degrees by media messages—from movies and books to advertising and merchandise—that degrade their appearance, nearly every black character in the novel—both male and female—internalizes a desire for the white cultural standard of beauty. This desire is especially strong in Pecola, who believes that blue eyes will make her beautiful and lovable. At the same time, every African American character hates in various degrees anything associated with their own race, blindly accepting the media-sponsored belief that they are ugly and unlovable, particularly in the appalling absence of black cultural standards of beauty. In a sense, Pecola becomes the African American community's scapegoat for its own fears and feelings of unworthiness. Unlike Claudia, who possesses the love of her family, Pecola has learned from her appearance-conscious parents to devalue herself. She endures rejection by others who also value “appearances” and who ultimately share the same symptoms that characterize Pecola's insanity. Besides exposing the inherent racism of the American standard of beauty, The Bluest Eye also examines child abuse in terms of the violence that some African American parents subconsciously inflict on their children by forcing them to weigh their self-worth against white cultural standards. Cholly's rape of Pecola in effect culminates the psychological, social, and personal depreciation by white society that has raped Cholly his entire life. As his surname implies, Cholly can only breed, not love, and his brutal act against his daughter produces a child who cannot live. Finally, Pecola's longing for blue eyes speaks to the connection between how one is seen and how one sees. Pecola believes that if she had beautiful eyes, people would not be able to torment her mind or body. Her wish for blue eyes rather than lighter skin transcends racism, with its suggestion that Pecola wants to see things differently as much as to be seen differently, but the price for Pecola's wish ultimately is her sanity, as she loses sight of both herself and the world she inhabits.
Regarded by modern literary critics as perhaps one of the first contemporary female bildungsroman, or coming-of-age narratives, The Bluest Eye initially received modest reviews upon its publication in 1970. Commentators later claimed that they neglected the work because Morrison was unknown at the time. Since then, however, The Bluest Eye has become a classroom staple, and scholarship on the novel has flourished from a number of perspectives. A recurring discussion has focused on the novel's ability to replicate African American vernacular patterns and musical rhythms. Many critics have approached the novel in the context of the rise of African American writers, assigning significance to their revision of American history with their own cultural materials and folk traditions. Others have considered the ways The Bluest Eye alludes to earlier black writings in order to express the traditionally silenced female point of view and uses conventional grotesque imagery as a vehicle for social protest. Scholars also have been attracted to The Bluest Eye by its deconstruction of “whiteness” along racial, gender, and economic lines, while feminists have equated the violence of the narrative with self-hatred wrought by a wide range of illusions about white American society and African American women's place in it. In addition, some have examined the influence of environment on the novel's characters, identifying stylistic affinities with literary naturalism. Others have offered Marxist interpretations of the novel's formal aspects in terms of the ideological content of its representation of African American life. Acknowledging Morrison's achievement in the novel, critics have generally acclaimed The Bluest Eye for deconstructing a number of literary taboos with its honest portrayals of American girlhood, its frank descriptions of intraracial racism or “colorism” in the African American community, and its thoughtful treatment of the emotional precocity of prepubescent girls.
In Toni Morrison’s The Bluest Eye, both racism and beauty are portrayed in a number of ways. This book illustrates many of the racial concerns which were immense issues in the 1970’s when the book was written, however not as much of issues in today’s current society.
Before you even open the book, both racism and beauty are revealed through the title of the book, The Bluest Eye. When the book was written, blonde hair and blue eyed people were the stereotypical portrayal of paramount flawlessness. Anybody that didn’t fit into this class was considered ugly. Even the dolls, such as Betsy Wetsy or Barbie dolls had the massive, round, deep blue eyes. Claudia, the narrarator, along with the other girls, looked up to these stereotypes of splendor and were also very envious of them. “I destroyed white baby dolls” Claudia said after describing the dolls with big, false blue eyes.
Even the adults admired the blue eyes, as shown when Mrs. Breedlove was working for the Fishers. She took pride to the way she kept their house, received a nickname, and comforted the little white girl, before her own daughter. When Pecola dropped the steaming blueberry pie on the kitchen floor, Mrs. Breedlove hit her daughter to the floor and calmed the young “beautiful” white girl.
Throughout the novel, Pecola was depicted as ugly because she was always miserable. She would always saunter around with a sad, grim look on her face, and rarely talked to anyone. The only time when she was content, however insane, was when she thought she had received her blue eyes towards the conclusion of the novel.
Maureen Peal was portrayed as beautiful because she was different. Maureen was a “high-yellow dream child with long brown hair braided into two lynch ropes that hung down her back. She was rich, at least by our standards, as rich as the richest of white girls, swaddled in comfort and care.” Maureen gave everyone a new light in the dead of winter, by wearing bright colors, and wearing expensive, stunning fur coats.
Toni Morrison especially integrated these themes into the novel to show that the stereotypes about blonde hair, blue eyed people were misleading, to show that all races are beautiful, and also to convey a story. These were the representations of racism and beauty when the book was published in 1970. However, society hasn’t changed very much since. There is a great deal less racism, and most races are publicized to be beautiful, however the media portrays models especially to be lean and anorexic, the stereotype of what everyone in society should look like. All men are supposed to be ripped, hairless and skinny and all women are supposed to be tall, skinny, and have long legs.
Racism and beauty played big roles throughout the novel. Toni Morrison’s intentions in writing this book were to show that racism and beauty are within the mind of the beholder.
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